Index of Articles

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alliterative literature
* Alliterative animals making medieval music in Saint Mary’s Church, Cogges (14th century)

Angelus ad virginem
Angelus ad virginem: why early music and traditional music share the same gene pool

Agincourt Carol
Taming the Devil’s carol: Ther is no rose of swych vertu … coming soon

animals playing instruments
* Alliterative animals making medieval music in Saint Mary’s Church, Cogges (14th century)

Arbeau, Thoinot
The pavan, the priest and the pseudonym: Belle qui tiens ma vie and Arbeau’s Orchésographie (1589)

archlute
The lute: a brief history from the 13th to the 18th century
* The evidence for straps used with medieval, renaissance and baroque musical instruments

armed man, The / L’homme armé
L’homme armé / The armed man: the remarkable life of a 15th century song and its contemporary resonance

art – see iconography

Astripotens famulos (Kind ruler of the stars)
* Polyphonic treasure in Lambeth Palace: three unique pieces from MS 457, c. 1200

bagpipe
* The medieval minstrels of Beverley Minster. Part 2/8: The minstrels of the arcades, triforium and capital
* The medieval minstrels of Beverley Minster. Part 3/8: The minstrels of the west, north and south walls
* The medieval minstrels of Beverley Minster. Part 4/8: The minstrels of the tombs, reredos, Saint Katherine’s chapel, and south transept
* The medieval minstrels of Beverley Minster. Part 7/8: Tudor misericords and neo-Gothic musicians 
* Alliterative animals making medieval music in Saint Mary’s Church, Cogges (14th century)

bandora
* Wired for sound: the bandora and orpharion

baroque guitar
The guitar: a brief history from the renaissance to the modern day
* The evidence for straps used with medieval, renaissance and baroque musical instruments

baroque lute – see lute

baroque music
Baroque music: a brief tour of the extravagant last period of early music

Belle qui tiens ma vie
The pavan, the priest and the pseudonym: Belle qui tiens ma vie and Arbeau’s Orchésographie (1589)

bells
* Alliterative animals making medieval music in Saint Mary’s Church, Cogges (14th century)

Beowulf
* Alliterative animals making medieval music in Saint Mary’s Church, Cogges (14th century)

Beverley Minster
* The medieval minstrels of Beverley Minster. Part 1/8: Foundation, destruction, and restoration.
* The medieval minstrels of Beverley Minster. Part 2/8: The minstrels of the arcades, triforium and capital.
* The medieval minstrels of Beverley Minster. Part 3/8: The minstrels of the west, north and south walls.
* The medieval minstrels of Beverley Minster. Part 4/8: The minstrels of the tombs, reredos, Saint Katherine’s chapel, and south transept.
* The medieval minstrels of Beverley Minster. Part 5/8: The “Order of the Ancient Company or Fraternity of Minstralls in Beverley”.
* The medieval minstrels of Beverley Minster. Part 6/8: Medieval beasts and allegories.
* The medieval minstrels of Beverley Minster. Part 7/8: Tudor misericords and neo-Gothic musicians.
* The medieval minstrels of Beverley Minster. Part 8/8: The strange and continuing history of the minstrels’ neglect.
* Alliterative animals making medieval music in Saint Mary’s Church, Cogges (14th century)

Bird on a briar
* Bird on a briar: interpreting medieval notation, with a HIP harp arrangement
* Bird on a briar (bryd one brere): constructing the missing voice

Bob the Builder (spoof article for 1st April)
NEW DISCOVERY! Rob. mason, builder, his galiard

Boissart mandore
– see Mandore.

Bosch, Jheronimus
* Performable music in medieval and renaissance art
Jheronimus Bosch and the music of hell. Part 1/3: The modern myth of Bosch’s butt music
* Jheronimus Bosch and the music of hell. Part 2/3: The Garden of Earthly Delights
* Jheronimus Bosch and the music of hell. Part 3/3: Music and musicians in the complete works of Bosch
A brief history of farting in early music and literature

bray harp
The bray harp: getting a buzz from early music
One song to the tune of another: early music common practice, 800 years before Humph
Westron wynde: a beautiful fragment of longing
The lute: a brief history from the 13th to the 18th century
* How reliable is medieval music iconography? Part 1/3: Understanding medieval art
Taming the Devil’s carol: Ther is no rose of swych vertu (video) … coming soon

bray lute
The lute: a brief history from the 13th to the 18th century
* How reliable is medieval music iconography? Part 1/3: Understanding medieval art

Breve regnum erigitur
Early music in fascist fires – or – The extraordinary survival of a Polish early music gem: Breve regnum erigitur … coming soon

Bring us in good ale
One song to the tune of another: early music common practice, 800 years before Humph

broadside ballads
* Tarleton’s Resurrection. Part 3/4: Richard Tarleton the musician and broadside writer
* Tarleton’s Resurrection. Part 4/4: Tributes to Tarleton – with a musical discovery from the 16th century
Baroque music: a brief tour of the extravagant last period of early music
Calen o Custure me: a Tudor love song with garbled Gaelic?
Greensleeves: Mythology, History and Music. Part 1 of 3: Mythology
Greensleeves: Mythology, History and Music. Part 2 of 3: History
Greensleeves: Mythology, History and Music. Part 3 of 3: Music
One song to the tune of another: early music common practice, 800 years before Humph
Drive the cold Winter away: the meaning of a 17th century seasonal song

Bryd one brere
* Bird on a briar: interpreting medieval notation, with a HIP harp arrangement
* Bird on a briar (bryd one brere): constructing the missing voice

Calen o Custure me (Cailín ó Chois tSiúre mé, Caleno custure me, Callin o custure me, Callino Casturame, Calmie custure me)
Calen o Custure me: a Tudor love song with garbled Gaelic?

Cantigas de Santa Maria
* “Why do you not praise her?”: the Virgin Mary and the troubadours (Cantigas de Santa Maria article 1/6)
* “I wish from this day forth to be her troubadour”: the composition of the Cantigas de Santa Maria (CSM article 2/6)
* The Virgin’s vengeance and Regina’s rewards: the surprising character of Mary in the Cantigas de Santa Maria (CSM article 3/6)
* The animated chop of meat (and other miraculous marvels): pilgrimage songs in the Cantigas de Santa Maria (CSM article 4/6)
* “Infidels”, “traitors” and “that ugly bearded crew”: fear and loathing in the Cantigas de Santa Maria (CSM article 5/6)
* Surprising songs of sentient statues: the Virgin, Venus, and Jason and the Argonauts (Cantigas de Santa Maria article 6/6) 
* Performing medieval music. Part 1: Instrumentation
* Performing medieval music. Part 2: Turning monophony into polyphony
* Performing medieval music. Part 3: The medieval style

Carols, carolling
Taming the Devil’s carol: Ther is no rose of swych vertu … coming soon

Carter, Sydney  
Songs that grow like trees: an appreciation of Sydney Carter (1915–2004)

cetra
* The citole: from confusion to clarity. Part 1/2: What is a citole?
* Medieval plectrums: the written, iconographical and material evidence. Part 1/2: Medieval plectrum materials and manufacture

Chansonnier du Roi
* La prime Estampie Royal: completing the fragment of a medieval melody

chant – see ecclesiastical chant

cithara, kithara
The guitar: a brief history from the renaissance to the modern day
The medieval harp (1/3): origins and development
The medieval harp (2/3): harp symbolism
* The citole: from confusion to clarity. Part 1/2: What is a citole?
* The citole: from confusion to clarity. Part 2/2: playing style and repertoire  

* Medieval plectrums: the written, iconographical and material evidence. Part 1/2: Medieval plectrum materials and manufacture 
* Medieval plectrums: the written, iconographical and material evidence. Part 2/2: Medieval and early renaissance plectrum technique
The vihuela and viola da mano: siblings of the lute
*
Alliterative animals making medieval music in Saint Mary’s Church, Cogges (14th century)

citole
* The citole: from confusion to clarity. Part 1/2: What is a citole?
* The citole: from confusion to clarity. Part 2/2: playing style and repertoire
* Medieval plectrums: the written, iconographical and material evidence. Part 1/2: Medieval plectrum materials and manufacture
* Medieval plectrums: the written, iconographical and material evidence. Part 2/2: Medieval and early renaissance plectrum technique 
* The medieval minstrels of Beverley Minster. Part 2/8: The minstrels of the arcades, triforium and capital
* The medieval minstrels of Beverley Minster. Part 3/8: The minstrels of the west, north and south walls
The guitar: a brief history from the renaissance to the modern day
* The mysteries of the medieval fiddle: lifting the veil on the vielle
* The English estampie: interpreting a medieval dance(?) tune – see video
* The evidence for straps used with medieval, renaissance and baroque musical instruments
* Alliterative animals making medieval music in Saint Mary’s Church, Cogges (14th century)
* How reliable is medieval music iconography? Part 1/3: Understanding medieval art
* How reliable is medieval music iconography? Part 2/3: 10 principles for interpreting iconography

cittern
* The citole: from confusion to clarity. Part 1/2: What is a citole?
The guitar: a brief history from the renaissance to the modern day
* The evidence for straps used with medieval, renaissance and baroque musical instruments

cláirseach / clársach
The medieval harp (1/3): origins and development

clavicembalum
* The Psilvery Psound of the Psaltery: a brief history
The medieval portative organ: an interview with Cristina Alís Raurich

clavicytherium
The medieval portative organ: an interview with Cristina Alís Raurich

clowns, fools, jesters
Tarleton’s Resurrection. Part 1/4: Tarleton’s place in the history of fools, clowns and jesters
* Tarleton’s Resurrection. Part 2/4: Tarleton the player and playwright
* Tarleton’s Resurrection. Part 3/4: Richard Tarleton the musician and broadside writer

* Tarleton’s Resurrection. Part 4/4: Tributes to Tarleton – with a musical discovery from the 16th century
* Performable music in medieval and renaissance art
* The medieval minstrels of Beverley Minster. Part 7/8: Tudor misericords and neo-Gothic musicians

coboz, koboz, kobza
* The Elbląg ‘gittern’: a case of mistaken identity. Part 1/2: Why the koboz was misidentified.

* The Elbląg ‘gittern’: a case of mistaken identity. Part 2/2: Identifying the koboz
Early music in fascist fires – or – The extraordinary survival of a Polish early music gem: Breve regnum erigitur … coming soon
* The medieval minstrels of Beverley Minster. Part 7/8: Tudor misericords and neo-Gothic musicians 
* The evidence for straps used with medieval, renaissance and baroque musical instruments

contrafactum (singular) / contrafacta (plural)
One song to the tune of another: early music common practice, 800 years before Humph
* Sumer is icumen in / Perspice Christicola: silencing the cuckoo

cornamuse (wind cap instrument)
The crumhorn: a short history

cornetto, cornet, cornett, zink
* The medieval minstrels of Beverley Minster. Part 3/8: The minstrels of the west, north and south walls
* The medieval minstrels of Beverley Minster. Part 7/8: Tudor misericords and neo-Gothic musicians

Coventry Carol
Coventry Carol: the power of a song

crumhorn
The crumhorn: a short history

cup cymbals
* The medieval minstrels of Beverley Minster. Part 3/8: The minstrels of the west, north and south walls

dance
The pavan, the priest and the pseudonym: Belle qui tiens ma vie and Arbeau’s Orchésographie (1589)

Music of the renaissance: a whistle-stop tour
Baroque music: a brief tour of the extravagant last period of early music
* Performing medieval music. Part 3: the medieval style
* The English estampie: interpreting a medieval dance(?) tune
The first dancing master’s manual: Domenico da Piacenza and the art of dance
* The citole: from confusion to clarity. Part 2/2: playing style and repertoire

de Machaut, Guillaume – see Guillaume de Machaut

Deo gracias anglica
Taming the Devil’s carol: Ther is no rose of swych vertu … coming soon

Doll thi ale
* Alliterative animals making medieval music in Saint Mary’s Church, Cogges (14th century)

Domenico da Piacenza
The first dancing master’s manual: Domenico da Piacenza and the art of dance

Dowland, John
Tarleton’s Resurrection. Part 1/4: Tarleton’s place in the history of fools, clowns and jesters
* Tarleton’s Resurrection. Part 4/4: Tributes to Tarleton – with a musical discovery from the 16th century
The lute: a brief history from the 13th to the 18th century
The scandalous la volta: “such a lewd and unchaste dance”
Music of the renaissance: a whistle-stop tour
Greensleeves: Mythology, History and Music. Part 1 of 3: Mythology

drama, historical
In defence of the unhistorical drama

Drive the cold Winter away
Drive the cold Winter away: the meaning of a 17th century seasonal song

dulcimer, hammer(ed)
* The Psilvery Psound of the Psaltery: a brief history

early music and folk/traditional music
– See Traditional/folk music and early music

ecclesiastical chant
Rediscovering the vitality of medieval chant: an interview with Bruno de Labriolle

Edi beo þu heuene quene
Edi beo þu heuene quene: a love song by any name
* “Why do you not praise her?”: the Virgin Mary and the troubadours (Cantigas de Santa Maria article 1/6)

* Performing medieval music. Part 2: Turning monophony into polyphony
* Bird on a briar (bryd one brere): constructing the missing voice
* The citole: from confusion to clarity. Part 2/2: playing style and repertoire

estampie
* The English estampie: interpreting a medieval dance(?) tune
* Kalenda maya, the troubadours, and the lessons of traditional music
* La prime Estampie Royal: completing the fragment of a medieval melody
The medieval harp (1/3): origins and development (video)
The medieval harp (2/3): harp symbolism (video)
* The medieval harp (3/3): performance practice (video)
* How reliable is medieval music iconography? Part 3/3: Making the Martini gittern (video)

Falsobordone (early music duo)
Music for a plague: an interview with Falsobordone

farting
A brief history of farting in early music and literature

fiddle, medieval
* On the medieval fiddle: a short introduction to the vielle

* The mysteries of the medieval fiddle: lifting the veil on the vielle
* Performing medieval music. Part 2: Turning monophony into polyphony
* The medieval minstrels of Beverley Minster. Part 2/8: The minstrels of the arcades, triforium and capital
* The medieval minstrels of Beverley Minster. Part 3/8: The minstrels of the west, north and south walls
* The medieval minstrels of Beverley Minster. Part 4/8: The minstrels of the tombs, reredos, Saint Katherine’s chapel, and south transept
* The medieval minstrels of Beverley Minster. Part 7/8: Tudor misericords and neo-Gothic musicians
*
Alliterative animals making medieval music in Saint Mary’s Church, Cogges (14th century)
* How reliable is medieval music iconography? Part 2/3: 10 principles for interpreting iconography

films, historical
In defence of the unhistorical drama

foliate heads
* The medieval minstrels of Beverley Minster. Part 6/8: Medieval beasts and allegories.

folk/traditional music and early music
See traditional/folk music and early music

fools, jesters, clowns
Tarleton’s Resurrection. Part 1/4: Tarleton’s place in the history of fools, clowns and jesters
* Tarleton’s Resurrection. Part 2/4: Tarleton the player and playwright
* Tarleton’s Resurrection. Part 3/4: Richard Tarleton the musician and broadside writer

* Tarleton’s Resurrection. Part 4/4: Tributes to Tarleton – with a musical discovery from the 16th century
* Performable music in medieval and renaissance art
* The medieval minstrels of Beverley Minster. Part 7/8: Tudor misericords and neo-Gothic musicians

Foweles in þe frith
* Foweles in þe frith (birds in the wood): mystery and beauty in a 13th century song
* The citole: from confusion to clarity. Part 2/2: playing style and repertoire
* Alliterative animals making medieval music in Saint Mary’s Church, Cogges (14th century)

Francesco Canova da Milano
The lute: a brief history from the 13th to the 18th century
The medieval harp (2/3): harp symbolism
* Medieval plectrums: the written, iconographical and material evidence. Part 2/2: Medieval and early renaissance plectrum technique
The vihuela and viola da mano: siblings of the lute

gemshorn
The gemshorn: a (necessarily) short history

gittern
The gittern: a short history
* La prime Estampie Royal: completing the fragment of a medieval melody – see video
* Medieval plectrums: the written, iconographical and material evidence. Part 1/2: Medieval plectrum materials and manufacture 
* Medieval plectrums: the written, iconographical and material evidence. Part 2/2: Medieval and early renaissance plectrum technique 
* The Elbląg ‘gittern’: a case of mistaken identity. Part 1/2: Why the koboz was misidentified
* The Elbląg ‘gittern’: a case of mistaken identity. Part 2/2: Identifying the koboz
* Performing medieval music. Part 2: Turning monophony into polyphony
The guitar: a brief history from the renaissance to the modern day
* The medieval minstrels of Beverley Minster. Part 2/8: The minstrels of the arcades, triforium and capital
* The medieval minstrels of Beverley Minster. Part 3/8: The minstrels of the west, north and south walls
* The evidence for straps used with medieval, renaissance and baroque musical instruments
* How reliable is medieval music iconography? Part 1/3: Understanding medieval art
* How reliable is medieval music iconography? Part 2/3: 10 principles for interpreting iconography
* How reliable is medieval music iconography? Part 3/3: Making the Martini gittern

goliards
One song to the tune of another: early music common practice, 800 years before Humph

green man
* The medieval minstrels of Beverley Minster. Part 6/8: Medieval beasts and allegories.

Greensleeves   
Greensleeves: Mythology, History and Music. Part 1 of 3: Mythology
Greensleeves: Mythology, History and Music. Part 2 of 3: History
Greensleeves: Mythology, History and Music. Part 3 of 3: Music

Gregorian chant – see ecclesiastical chant

Guillaume de Machaut
* The English estampie: interpreting a medieval dance(?) tune
* La prime Estampie Royal: completing the fragment of a medieval melody

Music for a plague: an interview with Falsobordone

guitar
The guitar: a brief history from the renaissance to the modern day
* The evidence for straps used with medieval, renaissance and baroque musical instruments

hammer dulcimer
* The Psilvery Psound of the Psaltery: a brief history

harp
The bray harp: getting a buzz from early music
* Bird on a briar: interpreting medieval notation, with a HIP harp arrangement
* Mirie it is while sumer ilast: decoding the earliest surviving secular song in English
The medieval harp (1/3): origins and development

The medieval harp (2/3): harp symbolism
* The medieval harp (3/3): performance practice
* The medieval minstrels of Beverley Minster. Part 2/8: The minstrels of the arcades, triforium and capital
* The medieval minstrels of Beverley Minster. Part 3/8: The minstrels of the west, north and south walls
* The medieval minstrels of Beverley Minster. Part 4/8: The minstrels of the tombs, reredos, Saint Katherine’s chapel, and south transept
* The medieval minstrels of Beverley Minster. Part 7/8: Tudor misericords and neo-Gothic musicians
* The evidence for straps used with medieval, renaissance and baroque musical instruments
* Alliterative animals making medieval music in Saint Mary’s Church, Cogges (14th century)
* How reliable is medieval music iconography? Part 2/3: 10 principles for interpreting iconography

harpsichord
* The Psilvery Psound of the Psaltery: a brief history
The medieval portative organ: an interview with Cristina Alís Raurich

historical drama
In defence of the unhistorical drama

historically informed performance (HIP)
* Performing medieval music. Part 1: Instrumentation
* Performing medieval music. Part 2: Turning monophony into polyphony
* Performing medieval music. Part 3: The medieval style
Music for a plague: an interview with Falsobordone
* La prime Estampie Royal: completing the fragment of a medieval melody
* The medieval harp (3/3): performance practice
* The citole: from confusion to clarity. Part 2/2: playing style and repertoire
* Polyphonic treasure in Lambeth Palace: three unique pieces from MS 457, c. 1200 
* Medieval plectrums: the written, iconographical and material evidence. Part 1/2: Medieval plectrum materials and manufacture
* Medieval plectrums: the written, iconographical and material evidence. Part 2/2: Medieval and early renaissance plectrum technique
Rediscovering the vitality of medieval chant: an interview with Bruno de Labriolle 

horn
* The medieval minstrels of Beverley Minster. Part 4/8: The minstrels of the tombs, reredos, Saint Katherine’s chapel, and south transept
* The medieval minstrels of Beverley Minster. Part 7/8: Tudor misericords and neo-Gothic musicians
*
Alliterative animals making medieval music in Saint Mary’s Church, Cogges (14th century)

hurdy gurdy (vielle à roue)
The wheel fiddle: a short history of the organistrum, simfony and vielle à roue (hurdy gurdy) … coming soon
* The medieval harp (3/3): performance practice
* The medieval minstrels of Beverley Minster. Part 2/8: The minstrels of the arcades, triforium and capital
* The medieval minstrels of Beverley Minster. Part 3/8: The minstrels of the west, north and south walls

iconography
* Performable music in medieval and renaissance art
Jheronimus Bosch and the music of hell. Part 1/3: The modern myth of Bosch’s butt music
* Jheronimus Bosch and the music of hell. Part 2/3: The Garden of Earthly Delights
* Jheronimus Bosch and the music of hell. Part 3/3: Music and musicians in the complete works of Bosch

* The medieval minstrels of Beverley Minster. Part 1/8: Foundation, destruction, and restoration.
* The medieval minstrels of Beverley Minster. Part 2/8: The minstrels of the arcades, triforium and capital. 
* The medieval minstrels of Beverley Minster. Part 3/8: The minstrels of the west, north and south walls.
* The medieval minstrels of Beverley Minster. Part 4/8: The minstrels of the tombs, reredos, Saint Katherine’s chapel, and south transept.  
* The medieval minstrels of Beverley Minster. Part 6/8: Medieval beasts and allegories. 
* The medieval minstrels of Beverley Minster. Part 7/8: Tudor misericords and neo-Gothic musicians.
* The evidence for straps used with medieval, renaissance and baroque musical instruments.
* Alliterative animals making medieval music in Saint Mary’s Church, Cogges (14th century)
MIMFABB: Musical Iconography in Medieval French and British Buildings by Laurence Wright
* How reliable is medieval music iconography? Part 1/3: Understanding medieval art
* How reliable is medieval music iconography? Part 2/3: 10 principles for interpreting iconography
* How reliable is medieval music iconography? Part 3/3: Making the Martini gittern

In dulci jubilo
Nails, needles, chains and angels: the pain and joy of In dulci jubilo

instrument straps
* The evidence for straps used with medieval, renaissance and baroque musical instruments

istanpitta – see estampie

jesters, fools, clowns
Tarleton’s Resurrection. Part 1/4: Tarleton’s place in the history of fools, clowns and jesters
* Tarleton’s Resurrection. Part 2/4: Tarleton the player and playwright
* Tarleton’s Resurrection. Part 3/4: Richard Tarleton the musician and broadside writer

* Tarleton’s Resurrection. Part 4/4: Tributes to Tarleton – with a musical discovery from the 16th century
* Performable music in medieval and renaissance art
* The medieval minstrels of Beverley Minster. Part 7/8: Tudor misericords and neo-Gothic musicians

jongleurs – see minstrels 

Kalenda maya
* Kalenda maya, the troubadours, and the lessons of traditional music

kithara, cithara
The guitar: a brief history from the renaissance to the modern day
The medieval harp (1/3): origins and development 
The medieval harp (2/3): harp symbolism
* The citole: from confusion to clarity. Part 1/2: What is a citole?
* The citole: from confusion to clarity. Part 2/2: playing style and repertoire  
* Medieval plectrums: the written, iconographical and material evidence. Part 1/2: Medieval plectrum materials and manufacture 
* Medieval plectrums: the written, iconographical and material evidence. Part 2/2: Medieval and early renaissance plectrum technique
The vihuela and viola da mano: siblings of the lute
* Alliterative animals making medieval music in Saint Mary’s Church, Cogges (14th century)

koboz, kobza, coboz
* The Elbląg ‘gittern’: a case of mistaken identity. Part 1/2: Why the koboz was misidentified
* The Elbląg ‘gittern’: a case of mistaken identity. Part 2/2: Identifying the koboz
Early music in fascist fires – or – The extraordinary survival of a Polish early music gem: Breve regnum erigitur … coming soon
* The medieval minstrels of Beverley Minster. Part 7/8: Tudor misericords and neo-Gothic musicians
* The evidence for straps used with medieval, renaissance and baroque musical instruments
* How reliable is medieval music iconography? Part 2/3: 10 principles for interpreting iconography

Labriolle, Bruno de
Rediscovering the vitality of medieval chant: an interview with Bruno de Labriolle

Lambeth Palace Library MS 457
*
Polyphonic treasure in Lambeth Palace: three unique pieces from MS 457, c. 1200

Latin guitar
The guitar: a brief history from the renaissance to the modern day

Letabundus exultet fidelis chorus
Taming the Devil’s carol: Ther is no rose of swych vertu … coming soon

L’homme armé / The armed man
L’homme armé / The armed man: the remarkable life of a 15th century song and its contemporary resonance

Lully, lulla, thow littell tiné child
Coventry Carol: the power of a song

lute
The lute: a brief history from the 13th to the 18th century
* Performable music in medieval and renaissance art
The medieval harp (2/3): harp symbolism
* Medieval plectrums: the written, iconographical and material evidence. Part 1/2: Medieval plectrum materials and manufacture 
* Medieval plectrums: the written, iconographical and material evidence. Part 2/2: Medieval and early renaissance plectrum technique
The vihuela and viola da mano: siblings of the lute
* The evidence for straps used with medieval, renaissance and baroque musical instruments
* How reliable is medieval music iconography? Part 1/3: Understanding medieval art
* How reliable is medieval music iconography? Part 2/3: 10 principles for interpreting iconography

Lyke-Wake Dirge
The Lyke-Wake Dirge: the revival of an Elizabethan song of the afterlife

lyre
The medieval harp (1/3): origins and development

The medieval harp (2/3): harp symbolism
* Medieval plectrums: the written, iconographical and material evidence. Part 1/2: Medieval plectrum materials and manufacture

Machaut, Guillaume de – see Guillaume de Machaut

Magno gaudens
Boy bishops, role reversals, and a rare 13th century song: Magno gaudens … coming soon

mandore    
The beautiful Boissart mandore, part 1 of 3: The pre-history of the mandore
* The beautiful Boissart mandore, part 2 of 3: Obervations on the Boissart mandore
The beautiful Boissart mandore, part 3 of 3: Creating a new mandore inspired by the ‘Boissart’ design

Manuscrit du Roi
* La prime Estampie Royal: completing the fragment of a medieval melody

Mater dei (Mother of God)
* Polyphonic treasure in Lambeth Palace: three unique pieces from MS 457, c. 1200

Me lykyþ ever þe lenger þe bet
“Wyngestyr that joly syte”: a 15th century song in praise of Winchester … coming soon

medieval fiddle – see vielle

medieval harp – see harp

medieval lute – see lute

medieval music
Medieval music: a quick guide to the middle ages
* Performing medieval music. Part 1: Instrumentation
* Performing medieval music. Part 2: Turning monophony into polyphony
* Performing medieval music. Part 3: The medieval style
* Performable music in medieval and renaissance art

* “the verray develes officeres”: minstrels and the medieval church

medieval music notation, theory, modes
* Bird on a briar: interpreting medieval notation, with a HIP harp arrangement
* Bird on a briar: constructing the missing voice
* Mirie it is while sumer ilast: decoding the earliest surviving secular song in English
* The mysteries of the medieval fiddle: lifting the veil on the vielle
* The English estampie: interpreting a medieval dance(?) tune
* Kalenda maya, the troubadours, and the lessons of traditional music
* Performing medieval music. Part 1: Instrumentation
* Performing medieval music. Part 2: Turning monophony into polyphony
* Performing medieval music. Part 3: The medieval style

* Foweles in þe frith (birds in the wood): mystery and beauty in a 13th century song
Jheronimus Bosch and the music of hell. Part 1/3: The modern myth of Bosch’s butt music

medley (ballad genre)
* Tarleton’s Resurrection. Part 3/4: Richard Tarleton the musician and broadside writer

minstrels
* Jheronimus Bosch and the music of hell. Part 2/3: The Garden of Earthly Delights
* Jheronimus Bosch and the music of hell. Part 3/3: Music and musicians in the complete works of Bosch

* “the verray develes officeres”: minstrels and the medieval church
* The medieval harp (3/3): performance practice 
* The citole: from confusion to clarity. Part 2/2: playing style and repertoire
* The medieval minstrels of Beverley Minster. Part 1/8: Foundation, destruction, and restoration.
* The medieval minstrels of Beverley Minster. Part 2/8: The minstrels of the arcades, triforium and capital.
* The medieval minstrels of Beverley Minster. Part 3/8: The minstrels of the west, north and south walls.
* The medieval minstrels of Beverley Minster. Part 4/8: The minstrels of the tombs, reredos, Saint Katherine’s chapel, and south transept.
* The medieval minstrels of Beverley Minster. Part 5/8: The “Order of the Ancient Company or Fraternity of Minstralls in Beverley”.
* The medieval minstrels of Beverley Minster. Part 7/8: Tudor misericords and neo-Gothic musicians.
* The medieval minstrels of Beverley Minster. Part 8/8: The strange and continuing history of the minstrels’ neglect.
* Alliterative animals making medieval music in Saint Mary’s Church, Cogges (14th century)
Attitudes to minstrels and musical instruments in Old French narrative poetry, 1100-1400, PhD thesis by Laurence Wright (scroll 2/3 way down page for access)

miracle plays – see mystery plays and miracle plays

Mirie it is while sumer ilast
* Mirie it is while sumer ilast: decoding the earliest surviving secular song in English

Miro genere (By a wondrous birth)
* Polyphonic treasure in Lambeth Palace: three unique pieces from MS 457, c. 1200

misericords
* Alliterative animals making medieval music in Saint Mary’s Church, Cogges (14th century)
* The medieval minstrels of Beverley Minster. Part 7/8: Tudor misericords and neo-Gothic musicians.
Tarleton’s Resurrection. Part 1/4: Tarleton’s place in the history of fools, clowns and jesters

modes – see medieval music notation, theory, modes

Moorish guitar
The guitar: a brief history from the renaissance to the modern day

morris dancing
Tarleton’s Resurrection. Part 1/4: Tarleton’s place in the history of fools, clowns and jesters

movies, historical
In defence of the unhistorical drama

musical animals – see animals playing instruments

musical instrument straps
* The evidence for straps used with medieval, renaissance and baroque musical instruments

mystery plays and miracle plays
Coventry Carol: the power of a song
* The medieval minstrels of Beverley Minster. Part 5/8: The “Order of the Ancient Company or Fraternity of Minstralls in Beverley”
*
Alliterative animals making medieval music in Saint Mary’s Church, Cogges (14th century)

nakers 
* The medieval minstrels of Beverley Minster. Part 3/8: The minstrels of the west, north and south walls
* The medieval minstrels of Beverley Minster. Part 4/8: The minstrels of the tombs, reredos, Saint Katherine’s chapel, and south transept
* The evidence for straps used with medieval, renaissance and baroque musical instruments

Narváez, Luys de
The vihuela and viola da mano: siblings of the lute

Notre Dame school
* Polyphonic treasure in Lambeth Palace: three unique pieces from MS 457, c. 1200
“the verray develes officeres”: minstrels and the medieval church
* Foweles in þe frith (birds in the wood): mystery and beauty in a 13th century song
* Performing medieval music. Part 2/3: Turning monophony into polyphony
* Kalenda maya, the troubadours, and the lessons of traditional music

Rediscovering the vitality of medieval chant: an interview with Bruno de Labriolle

oliphant, olifant, olyphant
* The medieval minstrels of Beverley Minster. Part 3/8: The minstrels of the west, north and south walls
* The medieval minstrels of Beverley Minster. Part 4/8: The minstrels of the tombs, reredos, Saint Katherine’s chapel, and south transept

Orchésographie
The pavan, the priest and the pseudonym: Belle qui tiens ma vie and Arbeau’s Orchésographie (1589)

organ
See portative organ or positive organ.

organistrum
The wheel fiddle: a short history of the organistrum, simfony and vielle à roue (hurdy gurdy) … coming soon
* The medieval harp (3/3): performance practice
* The medieval minstrels of Beverley Minster. Part 2/8: The minstrels of the arcades, triforium and capital
* The medieval minstrels of Beverley Minster. Part 3/8: The minstrels of the west, north and south walls
* The evidence for straps used with medieval, renaissance and baroque musical instruments

orpharion
* Wired for sound: the bandora and orpharion
Tarleton’s Resurrection. Part 1/4: Tarleton’s place in the history of fools, clowns and jesters

oud
The oud: a short guide to a long history
The lute: a brief history from the 13th to the 18th century

penorcon
* Wired for sound: the bandora and orpharion

percussion – see bells, cup cymbals, nakers, pipe and tabor, timbrel

Pérès, Marcel
Rediscovering the vitality of medieval chant: an interview with Bruno de Labriolle 

Perspice Christicola
* Sumer is icumen in / Perspice Christicola: silencing the cuckoo

Petrarch, Francesco
Medieval music: a quick guide to the middle ages
Music for a plague: an interview with Falsobordone

Piers Plowman
* Alliterative animals making medieval music in Saint Mary’s Church, Cogges (14th century)

pipe and tabor
Tarleton’s Resurrection. Part 1/4: Tarleton’s place in the history of fools, clowns and jesters
* Tarleton’s Resurrection. Part 3/4: Richard Tarleton the musician and broadside writer
* The medieval minstrels of Beverley Minster. Part 2/8: The minstrels of the arcades, triforium and capital
* The medieval minstrels of Beverley Minster. Part 3/8: The minstrels of the west, north and south walls
* The medieval minstrels of Beverley Minster. Part 7/8: Tudor misericords and neo-Gothic musicians
* The evidence for straps used with medieval, renaissance and baroque musical instruments

* Alliterative animals making medieval music in Saint Mary’s Church, Cogges (14th century)

plectrums
* Medieval plectrums: the written, iconographical and material evidence. Part 1/2: Medieval plectrum materials and manufacture
* Medieval plectrums: the written, iconographical and material evidence. Part 2/2: Medieval and early renaissance plectrum technique
* How reliable is medieval music iconography? Part 2/3: 10 principles for interpreting iconography

polyphony
* Performing medieval music. Part 2: Turning monophony into polyphony
* The citole: from confusion to clarity. Part 2/2: playing style and repertoire
* Polyphonic treasure in Lambeth Palace: three unique pieces from MS 457, c. 1200
* Medieval plectrums: the written, iconographical and material evidence. Part 2/2: Medieval and early renaissance plectrum technique

portative organ
The medieval portative organ: an interview with Cristina Alís Raurich
* The medieval minstrels of Beverley Minster. Part 2/8: The minstrels of the arcades, triforium and capital
* The medieval minstrels of Beverley Minster. Part 3/8: The minstrels of the west, north and south walls
* The medieval minstrels of Beverley Minster. Part 4/8: The minstrels of the tombs, reredos, Saint Katherine’s chapel, and south transept
* The evidence for straps used with medieval, renaissance and baroque musical instruments

positive organ
The medieval portative organ: an interview with Cristina Alís Raurich

Princess Royal
Princess Royal: the history of an Irish?/English?/Scottish? air/song/dance … coming soon

psaltery
* The Psilvery Psound of the Psaltery: a brief history
* Medieval plectrums: the written, iconographical and material evidence. Part 1/2: Medieval plectrum materials and manufacture 
* Medieval plectrums: the written, iconographical and material evidence. Part 2/2: Medieval and early renaissance plectrum technique
* The medieval minstrels of Beverley Minster. Part 2/8: The minstrels of the arcades, triforium and capital
* The medieval minstrels of Beverley Minster. Part 3/8: The minstrels of the west, north and south walls
* The medieval minstrels of Beverley Minster. Part 4/8: The minstrels of the tombs, reredos, Saint Katherine’s chapel, and south transept
* The evidence for straps used with medieval, renaissance and baroque musical instruments
* Alliterative animals making medieval music in Saint Mary’s Church, Cogges (14th century)

rebec
The rebec: a short history from court to street
* The mysteries of the medieval fiddle: lifting the veil on the vielle

renaissance dance
The pavan, the priest and the pseudonym: Belle qui tiens ma vie and Arbeau’s Orchésographie (1589)

Music of the renaissance: a whistle-stop tour

renaissance music
Music of the renaissance: a whistle-stop tour

renaissance guitar
The guitar: a brief history from the renaissance to the modern day

renaissance lute – see lute

rota (rote, rotta, rothe)
The medieval harp (1/3): origins and development
* How reliable is medieval music iconography? Part 2/3: 10 principles for interpreting iconography

Saint Mary’s Church, Cogges
* Alliterative animals making medieval music in Saint Mary’s Church, Cogges (14th century)

Salutation carol
One song to the tune of another: early music common practice, 800 years before Humph

Shakespeare, William
Playing Shakespeare: the music of the Bard
The song Shakespeare stole from: a discovery from the 16th century (spoof article for 1st April)
Calen o Custure me: a Tudor love song with garbled Gaelic?
In defence of the unhistorical drama
Tarleton’s Resurrection. Part 1/4: Tarleton’s place in the history of fools, clowns and jesters
* Tarleton’s Resurrection. Part 2/4: Tarleton the player and playwright

* Tarleton’s Resurrection. Part 4/4: Tributes to Tarleton – with a musical discovery from the 16th century

shawm
* The medieval minstrels of Beverley Minster. Part 2/8: The minstrels of the arcades, triforium and capital

simfony, symphony, symphonie, sinfonie, chifonie
The wheel fiddle: a short history of the organistrum, simfony and vielle à roue (hurdy gurdy) … coming soon
* The medieval harp (3/3): performance practice
* The medieval minstrels of Beverley Minster. Part 2/8: The minstrels of the arcades, triforium and capital
* The medieval minstrels of Beverley Minster. Part 3/8: The minstrels of the west, north and south walls
* The evidence for straps used with medieval, renaissance and baroque musical instruments

Sir Gawain and the Green Knight
* Alliterative animals making medieval music in Saint Mary’s Church, Cogges (14th century)

Solesmes Abbey
Rediscovering the vitality of medieval chant: an interview with Bruno de Labriolle

spinet
* The Psilvery Psound of the Psaltery: a brief history

Stella splendens
* The citole: from confusion to clarity. Part 2/2: playing style and repertoire

straps
* The evidence for straps used with medieval, renaissance and baroque musical instruments

Sumer is icumen in
* Sumer is icumen in / Perspice Christicola: silencing the cuckoo
Medieval music: a quick guide to the middle ages
Greensleeves: Mythology, History and Music. Part 2 of 3: History
One song to the tune of another: early music common practice, 800 years before Humph

Tabourot, Jehan
The pavan, the priest and the pseudonym: Belle qui tiens ma vie and Arbeau’s Orchésographie (1589)

tambourine
* The medieval minstrels of Beverley Minster. Part 2/8: The minstrels of the arcades, triforium and capital 
* The medieval minstrels of Beverley Minster. Part 3/8: The minstrels of the west, north and south walls

Tarleton / Tarlton, Richard
Tarleton’s Resurrection. Part 1/4: Tarleton’s place in the history of fools, clowns and jesters
* Tarleton’s Resurrection. Part 2/4: Tarleton the player and playwright
* Tarleton’s Resurrection. Part 3/4: Richard Tarleton the musician and broadside writer
* Tarleton’s Resurrection. Part 4/4: Tributes to Tarleton – with a musical discovery from the 16th century

theorbo
The lute: a brief history from the 13th to the 18th century
* The evidence for straps used with medieval, renaissance and baroque musical instruments

Ther is no rose of swych vertu
Taming the Devil’s carol: Ther is no rose of swych vertu … coming soon

timbrel
* The medieval minstrels of Beverley Minster. Part 2/8: The minstrels of the arcades, triforium and capital
* The medieval minstrels of Beverley Minster. Part 3/8: The minstrels of the west, north and south walls

traditional/folk music and early music
Angelus ad virginem: why early music and traditional music share the same gene pool

* Kalenda maya, the troubadours, and the lessons of traditional music
* Performing medieval music. Part 3: The medieval style
Drive the cold Winter away: the meaning of a 17th century seasonal song

Trees they do grow high, The
* The trees they do grow high: a ballad of medieval arranged marriage?

Trinity Carol Roll
Taming the Devil’s carol: Ther is no rose of swych vertu … coming soon

troubadours and trouvères
* Kalenda maya, the troubadours, and the lessons of traditional music

* “Why do you not praise her?”: the Virgin Mary and the troubadours (Cantigas de Santa Maria article 1/6)
* “I wish from this day forth to be her troubadour”: the composition of the Cantigas de Santa Maria (CSM article 2/6)
* Bird on a briar: interpreting medieval notation, with a HIP harp arrangement
* The citole: from confusion to clarity. Part 2/2: playing style and repertoire

trumpet
* The medieval minstrels of Beverley Minster. Part 3/8: The minstrels of the west, north and south walls

vielle (medieval fiddle)
* On the medieval fiddle: a short introduction to the vielle
* The mysteries of the medieval fiddle: lifting the veil on the vielle
* Performing medieval music. Part 2: Turning monophony into polyphony
* The medieval minstrels of Beverley Minster. Part 2/8: The minstrels of the arcades, triforium and capital
* The medieval minstrels of Beverley Minster. Part 3/8: The minstrels of the west, north and south walls
* The medieval minstrels of Beverley Minster. Part 4/8: The minstrels of the tombs, reredos, Saint Katherine’s chapel, and south transept
* Alliterative animals making medieval music in Saint Mary’s Church, Cogges (14th century)
* How reliable is medieval music iconography? Part 2/3: 10 principles for interpreting iconography

vielle à roue (hurdy gurdy)
The wheel fiddle: a short history of the organistrum, simfony and vielle à roue (hurdy gurdy) … coming soon

vihuela, vihuela da mano
The vihuela and viola da mano: siblings of the lute

viola da mano
The vihuela and viola da mano: siblings of the lute

viola de arco, viola d’arco
The vihuela and viola da mano: siblings of the lute

virginal
* The Psilvery Psound of the Psaltery: a brief history

volta, la
The scandalous la volta: “such a lewd and unchaste dance”

Westron wynde
Westron wynde: a beautiful fragment of longing

Winchester
“Wyngestyr that joly syte”: a 15th century song in praise of Winchester … coming soon

zink – see cornetto

10 thoughts on “Index of Articles

  • 21st July 2015 at 1:49 pm
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    Thought I would sign up for notifications to encourage me to look occasionally.
    Nick

    Reply
  • 21st July 2015 at 4:14 pm
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    What an interesting blog: thank you!

    Reply
  • 28th July 2016 at 3:57 pm
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    Can any list the Wedding Music from the 1511 Sabina of Bavaria/ Duke Ulrich of Wurttemberg ill-fated marriage? The 6/7vv “In Summis”(modern name) Mass was by Heinrich Finck (c.1444-1527).
    All leads welcomed!

    Reply
  • 28th July 2016 at 6:15 pm
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    Perhaps this page isn’t the ideal location for such a question, Sigmund. There are lots of specialist early music pages on Facebook. Perhaps someone there may know. I’m afraid I don’t. Good luck!

    Reply
  • 15th November 2016 at 10:44 am
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    Thanks for your blog. Really interesting a well written articles. Any idea of evidence for the bowed psaltery? It’s often used as a ” medieval” instrument but lacking in documentation?

    Andy Hornby ( Winders of Wyresdale)

    Reply
  • 20th November 2016 at 10:01 pm
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    Hello, Andy. If you go to the article on the psaltery http://earlymusicmuse.com/psaltery/ you’ll see mention of the fact that the bowed psaltery is a modern instrument, unrelated to the true medieval psaltery. All the best. Ian

    Reply
  • 25th September 2020 at 12:34 pm
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    Dear Mr. Pittaway, I have a very good book with all the scores of Atalanta Fugiens. If you are interested, I can scan it and send it to you. If you want more information, just tell me.
    Thanks a lot for your site and your work!
    Warm regards,
    Tancredo Braga

    Reply
    • 25th September 2020 at 8:57 pm
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      Hello, Tancredo, and thank you for your appreciation.

      Atalanta Fugiens is an intriguing and wonderful piece of work. Thank you for your very kind offer. I have so much music on my shelves I want to get round to one day, so I am reluctant to add one more work to the pile! Did you know there is an excellent website with the whole work online, in facsimile, in translation, and all the works sung? You’ll find it at https://furnaceandfugue.org/

      With my best wishes.

      Ian

      Reply
  • 1st January 2024 at 8:56 am
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    Just stumbled across your fine work when looking for the actual source of the image of a symphonia here https://www.music.iastate.edu/antiqua/instrument/hurdy-gurdy (with a suggest which implies it’s from the Liechtenstein gallery in Vienna, not Beverley Minster!).

    What wonderful photos and documentation! Thank you for sharing this with us, and please keep up the good work!

    Reply
    • 1st January 2024 at 9:06 am
      Permalink

      Thank you, Simon. Yes, as this article describes https://earlymusicmuse.com/medieval-minstrels-of-beverley-minster-3/ not only is the carving from Beverley Minster, but it is a modern copy of another 14th century simfony in the arcade, and both are very confused depictions. There are many, many better examples, and I expect this one is used because it looks so unmarked by the passage of time, which it is, because it was carved in 1908.

      Later this year there will be an article here on the history of the organistrum/simfony/simfonia, featuring a new instrument I’ve had made with top-mounted keys, as we see in a great deal of medieval iconography.

      All the best.

      Ian

      Reply

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